Upload
others
View
1
Download
0
Embed Size (px)
Citation preview
BSU Honors Program
Nicholas Lommen
Design
April 25, 2017
Lommen 2
Table of Contents
Artist Statement……………………………………………………………………………......pg 3
Research Process…………………………………………………………………………….pg 4-7
Creative Process……………………………………………………………………………..pg 7-8
Digital Paintings……………………………………………………………………………pg 9-12
Screenshots……………..…………………………………………………………………pg 13-15
Gallery Images…………………………………………………………………..……………pg 16
Bibliography……………………………………………………………………………….....pg 17
Lommen 3
Artist Statement
Looking back at my childhood, many of the fondest memories I have stem from my time
spent playing video games. Even at a young age I can remember challenging my dad to a game
of Mario Kart, or trying my hardest to best my parents’ records in Star Fox, and so playing video
games became a pastime that my whole family could enjoy. As I grew older, I began to look at
video games as more than just a source of entertainment. With each new game came a new
environment; a new world; a new way to play. Rather than simply “playing to win” as I had in
the past, I instead took the time to pause and truly appreciate all that the game had to offer. From
the barren streets of a forgotten city, to the vast expanse of an alien world, I started to see each
game as a culmination of creative expression—a work of art.
GAME ON showcases my passion for video games through digital illustration and
photography. Each poster pays homage to a different video game franchise while also drawing
inspiration from either Japanese manga or American comic books. In doing so I hope to bridge
the gap between two distinct art styles and two distinct cultures. The photography explores the
artistry within video games themselves. Taken as screenshots in the “Theater Mode” of Halo 5:
Guardians, each image portrays a different take on the beauty and complexity that can be
achieved through in-game environments and scenery.
It is my hope that, through this exhibition, people will come to appreciate the time and
effort that went into making this artwork—and these games—a reality. So what are you waiting
for? Grab some Doritos and Mountain Dew, because it’s GAME ON!
Lommen 4
Research Process
From humble beginnings in the 1980s to worldwide renown in the present day, video
games have staked their claim in modern society. Improvements in graphics and visual
processing have allowed video games to push the boundaries of what could only have been
described as dreams just decades ago, leading to their respect by many as both entertainment
and—more recently—an art form. Yet, as history has shown, society is often hesitant to accept
new art forms, and so when people such as Roger Ebert (movie critic and author of a blog article
entitled "Video games can never be art") denied video games this recognition, the heated debate
began (Murphy). This is where I come in.
To effectively showcase the artistic value present within video games, my thesis
exhibition, “GAME ON,” is comprised of various forms of digital media, including digital
paintings and in-game photography. Each piece is a visual representation of a particular video
game franchise, and highlights the conceptual phase of video game design as my main source of
inspiration. Each work also acts as a representation of the cultural similarities and differences
between the United States and Japan regarding artistic style and direction due, in part, to each
country’s extensive influence on video game design. To better represent the influence of cultural
nuances within video games, the works that I have created pay homage to both Japanese manga
and American comic books. In doing so, I hope to bridge the gap between two distinct forms of
popular entertainment media while also providing a relevant example of the ways in which
particular cultures—and artistic styles by extension—can elevate the artistic value of video
games in the public eye.
The exhibition features in-game photography and four digital paintings; each drawing
inspiration from either Japanese or American culture in the style of manga and comics. Both
Lommen 5
styles possess striking qualities that relate to the craft and creativity present in the conceptual
phase of video game design. Every game has its beginning…and I feel as though concept art
expresses the artistic influence found in video games, just as manga and comic books have done
in printed media. It is during this conceptual phase of the design that ideas become reality, and
imagination gives way to creative direction. Ultimately, this phase of video game design carries
the greatest influence over how the final game—from characters and objects to environments and
architecture—will look and feel, and the emotional impact it will have on the person playing it.
To better-display the importance of concept creation and development, I have also chosen to
include time-lapse recordings for each of the digital paintings in my exhibition, allowing me to
show my process from start to finish in hopes that people will be able to see just how much time
and effort truly went into making this project a reality.
When drawing from manga and comic books as sources of inspiration, it seemed only
natural to seek out individuals who have influenced the evolution of both mediums. To convey a
better representation of the progression of each art form, as well as to provide a connection
between the past and the present, I have chosen to base the inspirations for my work off two
mangaka (manga artists) and two comic book artists whose work has become synonymous with
the mediums themselves, and has become a source of renown to which artists aspire to.
Known by many as the “Father of Manga,” Japanese mangaka Osamu Tezuka made a
name for himself in the 1950s with the release of his most well-known work, Astro Boy,
featuring the large eyes and animated features that eventually became commonplace throughout
the manga industry (Zagzouga). Nearly 50 years later, a mangaka by the name of Masashi
Kishimoto created Naruto, one of the most popular and recognized manga to date. Through
Naruto, Kishimoto crafted a thoroughly engaging story that not only showcased his skills of
Lommen 6
incorporating action and tone into each panel, but also his ability to create a character that could
serve as a cultural connection between countries a world apart (Garrison, 2014). Osamu Tezuka
and Masashi Kishimoto have proven through their story-telling and sense of vision that manga
can relate to people on a personal level. It tells a story through its characters and stunning
imagery, something I took to heart with each of the works in my exhibition.
Across the Pacific, shortly after Osamu Tezuka had published his famed Astro Boy,
American comic book artist, Jack Kirby, was making history of his own. Collaborating with Stan
Lee, Kirby helped to co-create some of Marvel’s mainstay properties, including the Fantastic
Four, Thor, and the Hulk. He also worked with Joe Simon in creating “America’s Hero,” Captain
America. With his “distinct narrative drawing” and “bold abstraction,” Jack Kirby introduced a
new take on comic book superheroes, making him one of the most influential artists in comic
history (Hatfield, 2011). Fast forward a few decades and America is introduced to one of the
most influential comic artists of the present day—Todd McFarlane. Widely known as the creator
of the popular comic anti-hero Spawn, McFarlane became recognized for his unique stylistic
approach, as well as the many dark undertones featured in his work. Todd McFarlane also had a
hand in working with Stan Lee on several Spider Man comics, providing the inspiration for the
web-slinger’s newest villain, Venom. Taking cues from Jack Kirby and Todd McFarlane, I hope
to bring a sense of distinction and style to my work by pushing the boundaries and defying what
is to be expected.
I am optimistic that with the success of GAME ON, the public—both gamers and non-
gamers alike—shall acquire newfound appreciation for the creative ingenuity and passion put
into some of today’s blockbuster games, and I hope that by providing a glimpse into the
Lommen 7
conceptual design of video games and relevant media such as manga and comic books, people
might view these games as sources of creative and cultural expression—as works of art.
Creative Process
GAME ON represents the culmination of nearly a year of research, dedication, and time
spent developing the digital artwork—in addition to the time-lapse footage—featured in the
exhibition. It all began last summer. Once I had developed a sound thesis proposal, I then
dedicated time during the summer of 2016 to familiarizing myself with the art of digital painting.
It was my first time working with a Wacom tablet, which allows you to create complex digital
artwork using a stylus rather than a mouse. Fortunately, the act of using the tablet came easily to
me, and I did not find myself suffering from a steep learning curve. Once used to the tablet, I
began creating various works of digital art throughout the summer to further hone my skills. I
started the first of my four digital paintings in August of 2016, and made it my goal to spend
roughly two hours a day working on each piece. Due to time constraints and mounting work for
other school-related projects, work on the paintings slowed around late September of 2016, until
I managed to refocus my efforts later that December.
While working on each of the digital paintings, I used a software called OBS Studio to
record my screen during each work session. As I neared the end of my thesis project, I compiled
the video files for each work and combined them into one file with a video editing software
called Adobe Premiere. Using Premiere, I sped-up the raw footage and exported the file to
Windows Movie Maker, where I added title slides and other visual effects.
To create each of the six screenshots featured in the exhibition, I spent roughly eight
hours setting up shots within an Xbox One game called Halo 5: Guardians. The game allows
players to utilize its proprietary “Forge Mode” to build and customize their own in-game
Lommen 8
structures and environments. For each screenshot, I customized my player (Spartan) to better-suit
the environment. I then placed objects and other scene elements into each environment for added
effect, and positioned myself in various locations, and poses, to compose the perfect shot. From
there, I went into “Theater Mode”—a separate game mode which allows players to view saved
gameplay through a free-roaming camera. To take a shot, I simply went into my saved footage
from each environment and positioned my camera in such a way as to capture the breathtaking
size and scope the virtual landscape.
Each piece of digital artwork was printed and framed for display in Bemidji State
University’s GALLERY X, with the time-lapse footage displayed on four TVs (one for each of
the four digital paintings). The exhibition ran from April 6 to April 19, 2017—serving as the
final step in making my thesis a reality.
Lommen 9
Lommen 10
Lommen 11
Lommen 12
Lommen 13
Lommen 14
Lommen 15
Lommen 16
Lommen 17
Bibliography
Garrison, J.A. Orientalism and Western Fans: A Look at Fandom Surrounding Masashi
Kishimoto’s Naruto. Boone, 2013. Print. <https://libres.uncg.edu/ir/asu/listing.aspx?id=1
0138>.
Gavin, E. (2014). Press Start: Video Games and Art. In Games and Culture. Lebanon Valley
College. <https://www.lycoming.edu/schemata/pdfs/Gavin_ART447.pdf>.
Gee, James. "Why Game Studies Now? Video Games: A New Art Form." In Games and Culture.
1st ed. Vol. 1. Madison, Wisconsin: Sage Publications, 2006. <http://journals.sagepub.co
m/doi/abs/10.1177/1555412005281788>.
Hatfield, Charles. Hand of Fire: The Comics Art of Jack Kirby. U of Mississippi, 2011. Print. <ht
tp://www.upress.state.ms.us/books/1425>.
Murphy, Samantha. "Can Video Games Be Art?" CultureLab. September 20, 2010. Accessed
September 13, 2015. <https://www.newscientist.com/blogs/culturelab/2010/09/can-
video-games-be-art.html>.
Toku, Masami. "What Is Manga?: The Influence of Pop-culture in Adolescent Art." Visual
Cultural Research in Art and Education. California State University, 2001. Web. 2 Nov.
2015. <https://www.csuchico.edu/~mtoku/vc/Articles/toku/Toku_what%20is%20manga_
.html>.
Zagzoug, Marwah. "The History of Anime and Manga." NVCC. Black Horizon Anime and C.T.
Evans, 2001. Web. 2 Nov. 2015. <https://novaonline.nvcc.edu/eli/evans/HIS135/Events/
Anime62/Anime/62.html>.